Concert Reviews
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Live Review: Umphrey’s McGee at NYC’s Brooklyn Bowl (9/7-8)

on September 10, 2011, 5:33pm
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 Thursday, September 8th, 2011

umphreys s2 nyc 6 Live Review: Umphreys McGee at NYCs Brooklyn Bowl (9/7 8)

Ten years ago to the day, Umphrey’s McGee starting playing improvisational exercises in the ballroom of a hotel where a friend was getting married. The room was called the “Jimmy Stewart Ballroom”, and so they began to call these completely free jams “Jimmy Stewarts”. Two years ago, the band took it up a notch, creating a highly sought-out, limited attendance event where fans, through the magic of text messaging, could send ideas to the band, who would adjust their “Stewart” jam to accommodate the verbal cue. They called this an S2 Stew Art event, and it was only fitting that on the tenth anniversary of their first drunken exploration of this idea, they would hold an S2 at Brooklyn Bowl.

With only about 50 die hard fans allowed in, the band took an incredibly laid-back and friendly approach with their audience. Leaving the stylistic direction of the music entirely up to the fans is an impressive feat, one that requires not only confidence in the band’s improvisational abilities but a selflessness to let go of musical control. The band played three sets of around 20 minutes each, based entirely on phrases appearing projected on the wall next to them. Synthesized washes of sound flooded out from keyboardist Joel Cummings’ Moog synth and soon sped up into a nasty house jam in response to the first two phrase cues: “Moogasaurus Rex” and “Dark and EVIL Dance Party”. “Industrial jam” saw the band do their best Neubauten impression, with drummer Kris Myers flying around his drum kit and percussionist Andy Farag finding anything metal to hit amongst his arsenal of sound. However, the final few cues seemed too close to the sort of thing that Umphrey’s does anyway on any given night, such as “soaring uplifting reprise” or “disco trance.”

umphreys s2 nyc 7 Live Review: Umphreys McGee at NYCs Brooklyn Bowl (9/7 8)

The second jamming segment was the best of the three, striking the perfect balance between the comfortable and familiar. To start it off, the band created washes of attack-less guitar and waves of color for “Brian Eno ambient”, showing a brilliant understanding of a Music for Airports-style drone. Eventually, they added drum fills that grew into a hard-edged beat, transforming Eno into Umphrey’s. The serene soundworld perfectly segued into funkytown for “slap that bass,” on top of which a “dueling guitar ragefest” ensued. When the next cue read “ZAPPAAAAAA!!!!!,” the band instantly turned on a dime into “Willie the Pimp,” the bluesy Hot Rats track, with Cinninger taking on the snarling vocal duties.

In many ways, the S2 is reminiscent of the directed improvisational experiments of downtown composer and saxophonist John Zorn, albeit more jamband than free jazz. Like Zorn, Umphrey’s imbued their miniature sets with a fair bit of humor. Zorn called his guided improvisations “game pieces,” and make no mistake about it, S2 is definitely a game. Which isn’t to say that it’s a joke or that the band doesn’t take it seriously. With fans as devoted and critical as theirs, Umphrey’s has to show up big time for something like this, but the added investment clearly yields an added payoff. Sublime moments such as a heavy metal take on their normally serene anthem “Glory”, complete with early Megadeth speed drumming and strumming, or the sublime segment “melodic drum n bass,” with Myers laying down a blistering breakbeat while Stasik carved out a fluid, circular line in the highest register of his bass, clearly showed their willingness to put it all out there.

umphreys s2 nyc 8 Live Review: Umphreys McGee at NYCs Brooklyn Bowl (9/7 8)

But they were still able to act like Midwestern goofballs, especially drummer Kris Myers,  who offered some nearly perfect DeNiro impersonations in response to “Myers does Goodfellas” (complete with “Layla” outro on piano and slide guitar), and then obliging a fan who texted “trade instruments” by picking up a guitar and doing his best (or worst) Jake Cinninger impression.

Above all, the S2 event, Wednesday’s show– and indeed this entire New York run– showed not only the musical prowess of Umphrey’s McGee but their connection to and genuine appreciation of their fans. During a Q&A session following the S2 sets, the band was asked about their new contract with ATO Records. Bayliss replied that it might allow them to reach new people who wouldn’t have the opportunity to hear them otherwise, or in other words, non-jamband fans. With their attention to musical detail, their playful but serious attitude, their highly danceable grooves, and the occasional “seeing God” apotheosis, Umphrey’s McGee seems ready to add even more appreciative fans.

Set I:
Moogasaurus Rex
Dark and EVIL Dance Party
Industrial Jam
Soaring Uplifting Reprise
Heavy Metal Uplifting Rock
Disco Trance
Set II:
Brian Eno Ambient
Slap That Bass
Dueling Guitar Ragefest
Melodic Drum n Bass
Myers Does Goodfellas
Heavy Metal Glory
Trade Instruments
Set III:
Funky Porn Groove
The Honeymoon Suite (Sex on the Beach)
Get Floydy Weird Jam
Percussion Rage
Dirrrty Organ
Jake’s Favorite Song
Favorite Pedal
Robotic Facemelt

Gallery by Jake Cohen

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